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This study investigates the syntactic complexity of various text-types in the Czech language by analysing the mean dependency distance (MDD), a measure that quantifies the average distance between syntactic heads and their dependents within a sentence, and average sentence length (ASL). Using data from the SYN2020 corpus, a large and balanced collection of contemporary written Czech, we calculate the MDD and ASL for different text-types. Our findings reveal distinct patterns in the MDD and ASL values across genres, suggesting that syntactic complexity varies among different types of texts. We observe a clear distinction between fiction and non-fiction genres, with fiction exhibiting lower MDD and ASL values, indicating a more compact syntactic structure. Non-fiction genres, particularly scientific literature, display higher MDD and ASL values, reflecting more complex syntactic constructions. Journalistic texts, such as newspapers and magazines, fall between fiction and non-fiction in terms of MDD and ASL values. These results demonstrate the potential of MDD and ASL as quantitative measures for characterizing and differentiating text-types based on their syntactic complexity. Furthermore, our analysis contributes to a deeper understanding of the syntactic variations across diverse genres in the Czech language. [ABSTRACT FROM AUTHOR]

Nonfiction has long been left out of the discourse on literacy and little is known about the affective experiences that children seek when they choose to engage with facts via reading and otherwise. We have conducted an interview study in which children of diverse socioeconomic backgrounds in Czechia (N = 20, age 9–11) reflected on the world of facts as a springboard for affective engagement. Bespoke creative props were developed for the study. First, children made collages of their real-world interests and then reflected on the different activities (e.g. reading, viewing, talking, playing) through which they nurture these interests. Second, children engaged in the design of an imaginary nonfiction book on a topic of their choosing, a process that involved laying out a double page, leafing through sample books, and sorting picture cards representing different book design features. We present the interview toolkit and its holistic rationale and offer two contrasting case studies of children whose engagement was characterised respectively by a 'learning' and 'wonder' focus. Their differences showcase the interview toolkit's flexibility for further research and practice and expose the underexplored complexity and diversity of children's nonfiction experience. [ABSTRACT FROM AUTHOR]

Nowadays, there are not comprehensive studies on the idioms used by Pier Paolo Pasolini in his vast literary and non-fiction production. There is only one essay, although rich in data and starting points, on a proverb cited in an article published in the weekly «Il mondo» in 1975 (Rondinelli 2017). This paper, therefore, essentially has three objectives: 1) to trace the idioms used by the Emilian writer, also referring to other interesting phraseology for the purposes of the research; 2) to provide information on the identified idioms, retracing the most significant elements of their history; 3) to identify the clues that explain their use in Pasolini. [ABSTRACT FROM AUTHOR]

This is a non-fiction essay overtly about three methods used in overwintering physiology, set in the context of my first learning them, along with associated thoughts and ideas as I began working on my PhD. * The mathematics shows up mainly in the final section of the essay whose subtitle plays on a poem by Wallace Stevens called “Anecdote of the Jar”. This section is fable-like in its explanation of protein purification and begins with an impossible statement that is slowly adjusted to make sense by words and math. [ABSTRACT FROM AUTHOR]

Children often prefer nonfiction to fiction books but historically, teachers have neglected nonfiction books during reads alouds. The present study examined how young readers collectively make meaning of nonfiction picturebooks with the help of the teacher and their peers during a whole group interactive read-aloud in one kindergarten classroom. Using Bakhtin's dialogism and Rosenblatt's reader response theory, this study captured videos of nonfiction read-alouds, interviews, and formal observations to examine how children make sense of nonfiction picturebooks during whole group read-alouds. This study exposes the social nature of learning. Findings indicate that readers of nonfiction consider the responses of those around them in their takeaways, that making sense of nonfiction is a continual and discursive process, and that children used nonfiction books as a way to connect with one another. Implications for conducting nonfiction read-alouds with young children are discussed. This research exposes the power and potential for interactive read-alouds using nonfiction picturebooks with kindergarteners. [ABSTRACT FROM AUTHOR]

The practice of reading aloud to children is ubiquitous in early childhood classrooms. Teachers read aloud to young children to entertain, to build early literacy skills, to develop domain specific content knowledge and vocabulary, to promote social and emotional development and well-being, and to draw children into community with each other and the world. The types of texts teachers decide to immerse children in matters: children need opportunities to examine fiction and nonfiction texts, to learn from and about history, to wonder about phenomena in their natural, physical, and social worlds. This study explores the range of titles that 445 early childhood teachers reported reading with their students at a single timepoint. It describes the variety of fiction and nonfiction texts teachers reported reading and surfaces rich culturally relevant literature selections use with young children. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An interview with Melissa Harrison, nature writer, podcaster, and author of the novels "Clay," "At Hawthorn Time," and "All Among the Barley," is presented. She discussed whether she find fiction and nonfiction to be very different things to write, insight on her novel "All Among the Barley," and information on her novel "At Hawthorn Time."

Contemporary writing increasingly emphasizes truth-seeking and creative literacy to adapt to the rapidly changing social needs and cultural environment. The concept of nonfiction writing emphasizes the balance between authenticity and literature, that is, the creative combination of truth-seeking and literary narrative, subjective truth and objective truth. Creative writing, on the other hand, is a creative activity in the form of written expression, which emphasizes that everyone can create and is cross-border in nature. Therefore, we take nonfiction as a method, apply the concept of nonfiction writing to creative writing, analyze the cross-disciplinary drive and cross-disciplinary experiments of the concept of nonfiction writing on creative writing, put forward the implementation strategy of the concept of nonfiction writing in the teaching of creative writing, and provide new perspectives for the development of Chineseization and localization of creative writing. The study will provide new perspectives for the development of Chinese and localized creative writing. [ABSTRACT FROM AUTHOR]

Ding Yan is one of the representative writers of the "post -70s" in China. During the interview, she started from her own literary road. In the early days, she mainly created poetry and novels. In 2010, Ding Yan left Xinjiang and moved to Guangdong. Here she created two representative nonfiction works such as "Factory Girl" and "Factory Boys". She believes that the writer should not have a limit on nim or herself. Although there is a boundary between fiction and nonfiction, they can learn from each other. China's nonfiction writing has just begun, and there are still many areas that can be expanded. From the interview, we can clearly see the growth of the writer, her writing habits, her writing experience, and her understanding and thinking about nonfiction writing. [ABSTRACT FROM AUTHOR]

North Koreans have relied on the shadow economy since the collapse of socialism in the 1990s, but little is known about the degree to which informal markets have influenced the country's everyday politics. Based on a large-scale survey of defectors, as well as interviews with almost 100 defectors, including some who had been high-ranking officials prior to leaving North Korea, this article finds that the shadow economy has elicited many changes. First, informal marketisation has affected social practices in the workplace, such as reduced job attendance, decreased participation in mandatory organisational meetings, and a strengthened public perception that official job allocations are unfair. Second, the shadow economy has spread unfavourable views of the official welfare system, leading people to prefer life in the market to their past reliance on the command economy. Third, the shadow economy has led to rampant corruption, strengthening popular perceptions that officials are corrupt and law enforcement is unfair. Finally, the shadow economy has negatively affected public views of the North Korean regime, decreasing loyalty to the leadership and reducing public trust in political institutions. Despite these social transformations, people remain sceptical about the idea of regime change due to tight social control. [ABSTRACT FROM AUTHOR]

In this essay, I use two literary works from two distinct genres and with two very different narratives - a satirical techno-thriller and a historical non-fiction piece - to show how they can both convey the same bioethical message - donation of human body parts - to their audience. The two books I examine and contrast here are Rebecca Skloot's The Immortal Life of Henrietta Lacks (2010) and Michael Crichton's satirical techno-thriller Next (2006). The main question this article will try to answer is obviously not why The Immortal Life of Henrietta Lacks, a carefully researched nonfiction book, belongs on the list of essential works on bioethics, but rather why Next, a satirical techno-thriller that continuously blurs the boundaries between fact and fiction, belongs on the list as well. [ABSTRACT FROM AUTHOR]

Copyright of Pedagogia Più Didattica is the property of Edizioni Centro Studi Erickson SpA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The issue Other Possible Worlds (Theory, Narration, Thought) aims to investigate fiction and its frontiers, objects of critical and theoretical attention, starting from the central position they occupy in the conceptual, aesthetic, and methodological debate -- for the 20th Century as well as at the beginning of the 21st. The boundaries between fiction and non-fiction disclose connections with the invention of possible worlds in literary and artistic texts in general: utopias, eutopias, dystopias, and anti-utopias, whose peculiar strategies make them identifiable in representations and writings. The sheer number of studies and investigations focused on the relationship between fact and fiction in the last decades calls for a multidisciplinary dialogue to deepen the different meanings, messages, and aesthetic forms developed, especially in the literary field. [ABSTRACT FROM AUTHOR]

Copyright of KULT online is the property of Justus Liebig University Giessen and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Queerfeminist strategies in the reconstruction of memories, such as performative uses of fantasy in (auto)biographical (non)fiction texts, can bring out what has been repressed by androcentric narratives of History. Through memory dispositives, which trigger frictions between past and present, fiction and reality, creators manage to confront trauma. This is illustrated by close reading two works dealing with (post)memories of the Spanish Civil War and Franco's dictatorship: Carmen Martín Gaite's novel El cuarto de atrás (1978) and Maite García Ribot's documentary film Cartas a María (2015). While Martín Gaite navigates through her own fictionalized memories, García Ribot reconstructs her grandfather's exile. [ABSTRACT FROM AUTHOR]

Elizabeth Bowen's Collected Impressions (1950), out of print since soon after its initial appearance , has been wrongly disregarded by Bowen's readers and critics. The volume, comprising over fifty pieces of criticism, models Bowen's distinctive critical process—a process that is characterized by self-reflection, by deliberate and artful arrangement of her essays, and by her strategic revisionary return to a decade's worth of her nonfiction. Archival research at the Harry Ransom Center at the University of Texas at Austin reveals that Bowen develops a "scrap screen" approach to writing criticism in an effort to make of her literary impressions something permanent. Besides re-envisioning nostalgia as part of her critical process, Bowen composes a text that serves as a unifying record of her development as a literary critic, despite her self-doubt regarding her legacy as a critic. [ABSTRACT FROM AUTHOR]

Copyright of Cukurova University Faculty of Education Journal / Çukurova Üniversitesi Eğitim Fakültesi Dergisi is the property of Cukurova University, Faculty of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)